Rick Riordan quote: “But she laced her fingers through mine. I remember what she’d told me in New York, about building something permanent, …”

“She laced her fingers through his. "Good night," she whispered. With their hands clasped like children in a fairy tale, she fell asleep beside him in the dark.”

Cassandra Clare book City of Glass

Source: City of Glass

“Yeah, about that,” says Peeta, entwining his fingers in mine. “Don’t try something like that again.” “Or what?” I ask. “Or… or…” He can’t think of anything good. “Just give me a minute.”

Suzanne Collins The Hunger Games

Source: The Hunger Games

“Annabeth laced her fingers through his. In the light of his bronze sword, her face was beautiful.
'We're together,' she reminded him. 'We'll get through this.”

Rick Riordan book The House of Hades

Source: The House of Hades

“That night I lay in bed, remembering the moment when her hand touched mine. I wondered what it would be like to have her touch me not by accident, to maybe have her let me touch her.”

Alex Flinn book Beastly

Source: Beastly

“We don't fit in, you and me," he said. "We're both oddities no one knows what to do with. But we fit together." He took her hand, pressed her palm to his, then laced their fingers through each other's. "We fit.”

Jennifer Ashley (1974) American author

Source: The Madness of Lord Ian Mackenzie

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Louise Bourgeois (1911–2010) American and French sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007:

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

“I told her once I wasn’t good at anything. She told me survival is a talent.”

Susanna Kaysen book Girl, Interrupted

Source: Girl, Interrupted

“I love my mom. And this time, I told her I loved her. And she told me she loved me, too. And things were okay for a little while.”

Stephen Chbosky book The Perks of Being a Wallflower

Source: The Perks of Being a Wallflower

“I told her that was just the point — mine wouldn't be.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in "The Rides of Passage" in Via magazine (July 2005) http://www.viamagazine.com/top_stories/articles/ride_yourlife05.asp
Context: When I started on Disneyland, my wife used to say, "But why do you want to build an amusement park? They're so dirty." I told her that was just the point — mine wouldn't be.

“But she laced her fingers through mine. I remember what she’d told me in New York, about building something permanent, and I thought-just maybe-we were off to a good start.”

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